Monday, 1 May 2017
Painting Spring with Spring
I realise my photo-collage efforts leave the more photographically-inclined visitors here slightly baffled, but what I enjoy is what amounts to painting with photographic elements. For example, by combining various photographs from our Easter in Wales, I can produce pictures which say more, to me at least, about the experience of that time in that place, its feeling and meaning, than the photographs can by themselves. That wrought-iron gate at Hergest Croft, for example, somehow embodies something for me that, simply presented as itself, it fails to convey. Used as a key element in each of these four new pictures, however, with varying degrees of (un)subtlety, and varying degrees of "realism", it becomes something more than itself.
Quite what it becomes I couldn't say, but that, for me, is the whole point of developing a personal visual language: I can "say" with it the things I don't consciously, verbally, know that I know, or mean to mean, without having to relying on the accidental correspondences of photography. It's also a way of signalling than these images are not intended as a simple window onto a real world "out there", which, I'm afraid, is how most people see a straight photograph.